Instead, it made the agenda of the author seem a bit sensationalistic. I also questioned the meticulousness with which the author tried to find examples of her being "mean." I suppose that this was under the euphemism of journalistic integrity, but at the same time, the examples that he did come up with were so petty that I questioned whether or not they were necessary for this book to be balanced. The author uses very little first source material in this book and you really feel that distance. For one, I thought that the information was presented in a dry way, and is mostly composed of excerpts from previous interviews with her. "But her mission was to give joy to the world in another way, so maybe it was lucky.First, a disclaimer: I read a stack of biographies of Audrey Hepburn in college because I wrote a gigantic paper (more of a thesis really) about her, and I feel that I'm able to rate this biography against other biographies.Īt any rate, I would say that this bio, the first I've read in many years, is so-so in comparison to the others.
Maybe she would have been a good dancer, not a great dancer," Ferri continued. When a Financial Times reporter asked ballerina Alessandra Ferri, who appeared in the 2020 documentary Audrey, if Hepburn could have made it as a dancer, Ferri replied "probably not." "Very few make it. She took ballet classes throughout the show's run, and appeared, dancing on pointe, in the drama film Secret People the following year.
Still, she refused to hang up her pointe shoes, even while starring in the hit Broadway play GiGi in 1951. Nor did she have the ideal ballerina proportions: She stood at five feet and seven inches, with size 10-and-a-half feet. "I didn't have anywhere near the technique that other girls my age had," Hepburn said later. According to Financial Times, Rambert later told her that she could not make it as a professional ballerina. In 1948, three years after the end of World War II, Hepburn won a scholarship to Marie Rambert's ballet school in London.
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